The main question in drama, the way I was taught, is always, 'What does the protagonist want?' That's what drama is. It comes down to that. It's not about theme, it's not about ideas, it's not about setting, but what the protagonist wants.

I don't really have a social life.

The popularity of disaster movies expresses a collective perception of a world threatened by irresistible and unforeseen forces which nevertheless are thwarted at the last moment. Their thinly veiled symbolic meaning might be translated thus: We are innocent of wrongdoing. We are attacked by unforeseeable forces come to harm us. We are, thus, innocent even of negligence. Though those forces are insuperable, chance will come to our aid and we shall emerge victorious.

A man stands alone at the plate. This is the time for what? For individual achievement. There he stands alone. But in the field, what? Part of a team.

My definition of a 'friend' is, coming from Chicago, someone who says, 'Yeah, sure. You know what? Let's talk about what we can talk about. Let's help each other out. Your politics are none of my business.'

My dad was an immigrant kid and a Democrat and a Jew, and we didn't know any Republicans in our group. So I grew up Democratic. My dad was a labor lawyer - a very hardworking guy, a one-horse labor lawyer - and then I went to hippie college and lived in the bubble.

Worry is interest paid in advance on a debt that never comes due.